Please note that the techniques summarised below may not necessarily be identical or capture all that was taught in class.

Nage-waza (throwing technique):

Kata guruma, the shoulder wheel throw, was demonstrated. This throw was developed and introduced by Jigoro Kano into the judo curriculum after he saw the technique in a wrestling manual– kata guruma is also known as the fireman’s carry. Although kata guruma is not applicable in current competition rules, learning the technique is important for well-roundedness as kata guruma has an important niche in judo pedagogy.

Like most “wheeling” techniques like hiza guruma (knee wheel), ashi guruma (leg wheel), and o guruma (big wheel), kata guruma depends on creating a more-or-less fixed pivot point around which the receiver of the technique (uke) rotates around. In the case of kata guruma, this pivot is the shoulder. The classical way of doing kata guruma is the first technique shown in the below video:

However, while kata guruma is classified as a hand technique (te waza), the variation of kata guruma demonstrated in class was more of a side sacrifice (yoko sutemi) variation like in the videos below:

Important tips to keep in mind:

Close the gap. If there is distance between tori and uke, the unbalancing applied throughout the technique must first pull out the slack rather than having uke being immediately pulled off-balance as tori moves.

Do not change levels by bending at the waist. Like most judo throws, bending at the knees to position oneself below uke‘s centre-of-gravity allows tori to push off the ground with her/his legs and engage their whole body to complete the throw, much like how weightlifters have an erect posture to best efficiently apply lifts.

Similar to the second point, make sure one changes level sufficiently. If tori is not below uke‘s centre-of-gravity, the throw is much harder to complete and is hardly keeping with “maximum efficiency”. A good rule of thumb to change levels is to put one’s ear by uke‘s hip or belt.

Like many side sacrifice techniques, falling along one’s side rather than one’s back and following through by shoulder bridging helps refine the technique.

Ne-waza (ground technique)

Ude-hishigi waki gatame, often shortened to waki gatame, is the armpit armlock. The first variation demonstrated was a counter as uke reaches across to frame the neck or pursue a kuzure kesa gatame (modified “scarf” hold) escape. Notice how in the below video, tori clamps around uke‘s elbow with his armpit, then pulls uke onto his stomach and pulls up at the wrist to apply the armlock.

The second variation of waki gatame shown was one where uke attacks a turtled tori head on, and tori clamps the arm and sits out to apply the armlock. Notice how tori clamps above uke‘s elbow to prevent uke from bending or pulling out the arm.

Please note that the techniques summarised below may not necessarily be identical or capture all that was taught in class.

Nage-waza (throwing technique):

Continuing on the newly accepted techniques theme (shinmeisho no waza) from o-soto gaeshi, o-uchi gaeshi (large inner reversal) was demonstrated this class. It is similar in principle to o-soto gaeshi in creating an angle to counter uke.

Please note that the techniques summarised below may not necessarily be identical or capture all that was taught in class.

Nage-waza (throwing technique):

Utsuri goshi, the switching hip throw, was demonstrated. This is a counter hip throw that starts when tori blocks uke‘s forward throw by pushing in the hips. In competition, in response to current iteration of rules, this throw has become a popular counter option as demonstrated by the image of Kayla Harrison (USA) below.

Classically, the throw is done like in the first clip below, but it is often more effective to draw a leg back and angle one’s hips as in the second clip. Any way one does utsuri goshi, it is still a hip throw and consequently a “hip bump” is still needed to throw uke.

Please note that the techniques summarised below may not necessarily be identical or capture all that was taught in class.

Nage-waza (throwing technique):

O-soto gaeshi (large outer reversal), again continuing on the theme of shinmeisho no waza (newly accepted techniques), was demonstrated. This technique is also featured in an unofficial kata called go-no-sen no kata(form of counters). In the particular variation demonstrated, tori receives uke‘s o-soto gari (large outer reap), moves his/her support leg backwards, and performs an o-soto gari at an angle.

Of course, since uchi mata is one of the highest percentage throws in judo competition (highlight 1, highlight 2, and 3), there are many uchi mata variations, setups, and strategies. For a glimpse at this wild beautiful world, check out Kosei Inoue’s hour long tutorial on his favourite technique (French language).

Please note that the techniques summarised below may not necessarily be identical or capture all that was taught in class.

Nage-waza (throwing technique):

Kuchiki taoshi, the rotten wood toppling, was demonstrated. This throw’s interesting name comes from the fact that it was reintroduced as an official technique (i.e. shinmeisho no waza or newly accepted techniques) from classical jujutsu, a great source of flowery names. This technique looks much like kibisu gaeshi (ankle reversal) as demonstrated several classes ago, except the hand grabs around the thigh area rather than the heel or ankle. A good written exposition of the possibilities available with kuchiki taoshi is available here or here, but the two videos below summarise the two kuchiki variations shown.

Ne-waza (ground technique):

A way of passing the “guard”, the position where one is between the legs of another, was demonstrated. Specifically, the single leg stacking pass was demonstrated. This guard pass requires constant forward pressure both in order to pass successfully and to avoid being caught in a triangle choke (sankaku jime). Killing uke‘s hip mobility is a key point, in addition to stacking uke‘s leg into her/his face.

While not mentioned in class, the single leg stacking pass leads straight into kata te jime (single hand choke).

Please note that the techniques summarised below may not necessarily be identical or capture all that was taught in class.

Nage-waza (throwing technique):

The throw demonstrated in class is tsubame gaeshi, which poetically translates as the swallow reversal, in reference to the acrobatic flight of swallows. This throw is exclusively a counter to a foot sweep such as de ashi barai (forward foot sweep) or okuri ashi barai (sliding foot sweep).

While the above video shows the conventional swallow reversal, Bernard-sensei also taught another variation that sweeps the support leg of uke rather than uke‘s sweeping foot. This variation can be seen in the below video:

However, since practising tsubame gaeshi requires that uke commit to the foot sweep in order to be countered, de ashi barai was also reviewed.

Ne-waza (ground technique):

Several escapes from kami shiho gatame (upper four quarter hold) and yoko shiho gatame (side four quarter hold) were taught.

The first kami shiho gatame escape relies on mobility by pushing off your partner’s shoulders and shrimping, then turning back into uke to regain guard.

The second kami shiho gatame escape relies on threading an arm under uke‘s chin and reaching behind to grab uke‘s back. This creates space and allows for movement and further disruption of uke‘s pin and base. The two following videos show something similar to what was shown in class:

The third kami shiho gatame escape is an inverted reversal that operates by insertion of the knees and shins between tori and uke, and rolling to reverse position. Two video examples are below:

The first yoko shiho gatame escape was follows shoulder bridging, shrimping out the hips, and insertion of the nearside knee and shin to maintain distance. These principles, and other details such as blocking and framing uke‘s neck and hip with the hands, can be found in the below video:

The second yoko shiho gatame escape is initiated by shoulder bridging and turning into uke, provoking uke to push back in. Tori then reaches over and grabs the belt and pulls uke over to reverse position. Two similar videos are shown below:

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